Production

Cleavon.

visionary + brand strategist

Hailing from Wynne, Arkansas, Cleavon Meabon, IV is an artist with an extensive professional background in theatre, television, film, and recently radio.

He attended Howard University in Washington, DC for Musical Theatre and Economics. Post-college Cleavon was coined as “Atlanta’s Youngest Writer & Director.” Soon after his recognition in theatre, he delved into film directing and producing independent films, short films, series, PSA’s, and local ad campaigns for companies such as McDonald’s, The Salvation Army, Geico, and various other businesses. As he grew and developed in the film industry, he was given the opportunity to jump into casting and managing. He has worked as an extras casting director/local casting director/casting assistant for Paramount’s Selma, Barbershop 3, All Eyez on Me, Greenleaf, and Being Mary Jane.

Cleavon has been an entrepreneur since the age of 19 when he opened his first studio and continues to make significant strides in his career. In 2016, he founded Bring It Black, Inc., an organization dedicated to the past, present, and future of black theatre.

Cleavon has been featured on multiple television outlets, popular radio stations, and notable blogs like Broadway World, Back Stage, and DC Metro Theatre Arts for his projects.

He has returned to Washington, DC to continue his pursuits as a visionary.

Madame Lovely’s Place

BREATHE: The Musical

DC Theatre Scene

Meabon is strategic in his arrangement of narrative — every iteration of trauma is countered with exuberant examples of Black joy. The juxtaposition of innovative performance traditions with violent acts illustrates some of the brilliant mechanisms African-Americans have engaged to survive the recurrence of abhorrent violations.

Angela CarrollArtist-Activist

No.
01

DC Metro Theatre Arts

Meabon has achieved with Breathe one of the best theater marketing campaigns I have seen in DC.

John StoltenbergJournalist

No.
02

DC Metro Theatre Arts

In the space of eight tight lines, Maebon has Myra articulate her insight into a privileged white woman who is nonetheless oppressed by a white man but throttles her anger at the Massa and shunts it to a black man instead. That’s some powerful dramatic writing. And the musical has only begun.